NYS Music 202​2

Category: Regions

  • IDLES Get “Back To Normal” In Flatbush

    Winding down their 14-date tour of North America, in support of their fourth album Crawler (Partisan Records) released in November 2021, avant-garde punk rockers IDLES from Bristol, England made a stop at the majestic Kings Theatre in Brooklyn, this past Thursday night, September 15. Unable to tour for their previous studio album (2020’s Ultra Mono) due to the COVID-19 pandemic, IDLES brought with them plenty of new material to offer its steadily growing legion of fans, present company included.

    Joe Talbot of IDLES | Photo by Michael Dinger

    Arriving more than an hour before the 7:00 pm doors on a chilly September late afternoon, a signal that autumn would soon be upon us, excited concertgoers were spotted congregating on nearby sidewalks, hastily exiting their Ubers beneath the grand marquee or frequenting the nearby bar that doubles as a tattoo parlor. As patrons filed past the security check point, many had a sheer expression of awe on their face as they witnessed the theater’s ornate, French Baroque style for the first time. The nearly 3,700 seat venue had been restored to its vintage condition and reopened to the public in January 2015, including the ornamental 50,000 square foot ceiling, along with the glazed and gilded walls paneled in American walnut.

    Kings Theatre marquee | Photo by Michael Dinger
    Kings Theatre ceiling | Photo by Michael Dinger

    Approximately 15 minutes before the night’s opening act would take the stage, IDLES fans continued to pack the lobby. Many of which checked out the merch table, grabbed a drink from the array of bars strategically placed on all levels or snapped a cell phone picture of the historic venue’s centerpiece, the console of a “Wonder Morton” pipe organ that was installed in the original Loew’s New York City movie theaters.

    Kings Theatre pipe organ | Photo by Michael Dinger

    An American hip hop group formed in Tempe, Arizona in 2013, Injury Reserve are rapper Ritchie With a T and producer Parker Corey. However, the current duo was once a trio, until the sudden death of friend and founding member Stepa J. Groggs on June 29, 2020, at only 32 years of age. Having already supported Black Midi on a tour of the West Coast earlier this year, Injury Reserve’s musical genre is best described as experimental, or abstract hip hop – think beat machines with endless cords.

    Albeit for blinding flashes of strobe lights, Injury Reserve performed in near darkness, with their figures appearing in silhouette, or barely discernible at all. Notwithstanding, as the steadily increasing crowd took their seats or joined the general admission floor, they cheered and applauded loudly at every opportunity. Ritchie With a T and Corey would perform ten songs over the course of nearly 45-minutes, all taken from their second studio release By the Time I Get to Phoenix, self-released nearly one year ago. The only song not played from the album was the third track titled “SS San Francisco.”

    Injury Reserve | Photo by Michael Dinger
    Injury Reserve | Photo by Michael Dinger

    After a 30-minute turnover of the stage by IDLES’ crew, the quintet comprised of Joe Talbot (vocals), Mark Bowen (guitar), Lee Kiernan (guitar), Adam Devonshire (bass) and Jon Beavis (drums) unassumingly appeared in the dark shadows a few ticks past 9:00 pm. With its cinematically suspenseful introduction and a perfect number for opening the show, the first of IDLES’s 18-song set was “Colossus,” from 2018’s Joy as an Act of Resistance, which would also find Kiernan tip toeing along the narrow barricade in front of the stage apron. With one foot perched up on his monitor, prior to launching into the evening’s second offering “Car Crash” (Crawler), about Talbot’s real-life experience in a near-fatal accident, he instructed the entire floor audience do split apart, forming a no man’s land down the middle. Then, on his command, each side came crashing back into one another (like a car crash) in a fevered, giant mosh pit like I have never seen before.

    Lee Kiernan of IDLES | Photo by Michael Dinger
    IDLES | Photo by Michael Dinger

    For the remainder of their 90-minute set, sweaty, beer-covered bodies would often sway in unison as IDLES filled the entirety of Kings Theatre with a raw emotion that emanated from songs across their ever-growing discography, including the rallying cry of “Grounds” (Ultra Mono), the cathartic “Mother” (Brutalism, 2017), “The Beachland Ballroom” (Crawler) about the iconic Cleveland venue, the violent vigor of “Never Fight a Man With a Perm” (Joy as an Act of Resistance) and the grittiness of “Crawl!” (Crawler). Oftentimes, when Talbot was not prowling the stage in concentric circles or jogging in place, he could be seen engaging with his fans directly by looking straight into their eyes, as if he were singing to them only. I was also fortunate enough to catch his gaze on more than one occasion.

    Lee Kiernan & Adam Devonshire of IDLES | Photo by Michael Dinger
    Mark Bowen of IDLES | Photo by Michael Dinger

    There were too many highlights in the IDLES set to count, and all five members were in prime form. But the moment that seemed to electrify the fans the most was not when Kiernan stood atop the crowd’s shoulders hugging a pink cowboy hatted fan, but when Bowen climbed his own way into the crowd, microphone in hand, as he led the frenzied crowd through the bridge section of the anthemic “Danny Nedelko” (Joy as an Act of Resistance).

    Despite being a self-described “angry band” from the U.K., IDLES have built a really loving community amongst their fans. People constantly look out for out for each other, and tonight’s show was no exception. The final concert of IDLES’ “Back To Normal Tour,” before trekking to New Zealand and Australia in late-October, will be at the Sea.Hear.Now festival in Asbury Park, New Jersey on September 18.

    Injury Reserve Setlist: Outside > Superman That > Footwork in a Forest Fire > Ground Zero > Smoke Don’t Clear > Top Picks for You > Wild Wild West > Postpostpartum > Knees > Bye Storm

    IDLES Setlist: Colossus > Car Crash > Mr. Motivator > Grounds > Mother > Divide and Conquer > The Beachland Ballroom > Never Fight a Man With a Perm > Crawl! > 1049 Gotho > The Wheel > Television > A Hymn > War > Wizz > I’m Scum > Danny Nedelko > Rottweiler

  • In Focus: Freddie Gibbs “Soul Sold Separately” Listening Party in SoHo

    Freddie Gibbs hosted a pre-album listening party for his upcoming album “$oul $old $eparately” (SSS). The album is set to release on September 30th. The party occurred on Wednesday, September 14th, at 383 W Broadway in SoHo. His label, Warner Records, stated that this is “Freddie’s first major label album debut and is based on the refusal to compromise his morals or integrity under the pressures of the industry.”

    Freddie Gibbs at his “$oul $old $eparately” Album Listening Party.
    Freddie Gibbs at his “$oul $old $eparately” Album Listening Party. Photo By: Lucas Kurzweil

    Freddie Gibbs hails from Gary, Indiana, was initially signed to Interscope Records in 2006, but would not release his first album until signing with Young Jeezy’s CTE World where he released mixtapes through the label, including Baby Face Killa (2012).

    Freddie released “Too Much” featuring Moneybagg Yo in advance of his casino-themed album. The track features cutting flows that have become Gibbs’ token sound. Freddie’s last album, “Alfredo,” (made in collaboration with California producer the Alchemist) was nominated for Best Rap Album at the 2020 Grammy Awards. “Alfredo” featured Rick Ross, who will make another appearance on SSS. Other features on the new album will include Anderson .Paak, Offset, and Pusha T. Merchandise for the release is out for pre-order on Kanecomics.shop.

    Freddie Gibbs at his “$oul $old $eparately” Album Listening Party.
    Guapdad 4000 at the “$oul $old $eparately” Album Listening Party.
    Ben Lambert, Thefitmamii, and Freddie Gibbs at the “$oul $old $eparately” Album Listening Party.
    Ben Lambert, Thefitmamii, and Freddie Gibbs at the “$oul $old $eparately” Album Listening Party.
    Freddie Gibbs at his “$oul $old $eparately” Album Listening Party.
    Freddie Gibbs at his “$oul $old $eparately” Album Listening Party.

  • ‘The Phantom Of The Opera’ on Broadway Closes After 35 Years

    Broadway’s beloved The Phantom Of The Opera will close after 35 years on stage due to the ongoing crisis the pandemic has had on the theatre business, with fewer people going to shows over the past two years.

    the phantom of the opera
    Emilie Kouatchou and Ben Crawford lead the current cast of “The Phantom of the Opera” on Broadway.

    The show is the longest-running show in Broadway history and will commemorate its 35 anniversary in January, and then will play its final performance on Broadway on Feb. 18, according to a spokesman. The show has become a staple in Broadway history, however, due to the pandemic it has grossed a lot less money since the reopening of the theatre.

    The musical made almost $900,000 for the week ending Sept. 11, but it is making less than half the money that shows like Hamilton, The Lion King, and Wicked are making. Tickets are also significantly cheaper than other shows, with “Phantom” costing around $80 a ticket, and others costing well over $100 because the demand to see the show is less.

    “Phantom” is a symbol of 1980s Broadway, created by three of the most legendary figures in musical theater history: the composer Andrew Lloyd Webber, the director Hal Prince and the producer Cameron Mackintosh. The show is about a mask-wearing opera singer who frequents the Paris Opera House and falls for a young soprano. It is famous for the mask as well as the chandelier that crashes on stage every night. On Broadway, the show has been seen by 19.8 million people and has grossed $1.3 billion, since opening.

    The Phantom Of The Opera will still have production in London, as well as a brand new one in Australia. The first Mandarin language production is set to open in China next year, and a Spanish-language version is in the works. Tickets will go on sale shortly for the final productions, and for information on when those will be and how to purchase them, go here.

  • Sam Rappaport Pops Back Up with “Easy to Love”

    Brooklyn singer-songwriter Sam Rappaport has returned with his third single, “Easy to Love,” a candid, romantic soft rock song.

    It’s the lead single off his upcoming debut EP “Get Me Away From Myself,” and follows “Till the Morning Comes” and “Journeyman’s Ballet,” released in February & November of 2021. With this track he also continues to supplement his work with Gooseberry, an indie-rock band for which he sings and plays keyboards.

    Promotional art for “Easy to Love.”

    It follows a simple pop song structure and includes jazzy instrumentation, with saxophone and watery keys leading the way. The song’s slow tempo and simple rhythm section make for a relaxed tone along with Rappaport’s soft vocals, as he muses about being enveloped in an enamoring feeling of love. “The way you laugh makes me tingle,” he sings on the chorus, nicely supplemented by female background vocals. “The way you touch me makes me cry.”

    Produced by Lorenzo Wolff, subtle touches such as the gurgle of a baritone sax distantly in the background give the song an added element of depth, and make the rise in energy during the louder, more outgoing chorus even more satisfying.

    “Easy to Love” by Sam Rappaport doesn’t take any serious risks musically, but given the song’s romantic themes, maybe that’s okay. Sometimes love is simple, and there’s nothing wrong with that.

  • Brooklyn Pop Duo Fake Dad Release New Single “Painkiller”

    Fake Dad, a Brooklyn alt. pop duo just released their new single “Painkiller,” about struggles with mental health and addiction, and how hard it is to support someone as they struggle with both.

    Fake Dad

    Fake Dad is made up of Andrea de Varona and Josh Ford. They make music out of their tiny Brooklyn apartment, and since the beginning of 2018 have been inseparable with a love of music at the center of their relationship long before they started writing together.

    Their music has a signature production sound with distinct voice styles and is there to give you a friendly pat on the back after a long day, and they want you to know everything is going to be okay.

    We hope listeners feel understood and not alone in their respective battles with anxiety, depression, substance abuse, self-harm or really any kind of mental health struggle. Sometimes our connections with others, and a sense of belonging alone are reasons to stay on this earth and try to get better.

    Fake Dad

    Their new single “Painkillers” is a nod to the 80s synth-pop era, with uplifting lyrics about trying to break free from inner demons, and an ode to a relationship between two extremely anxious individuals desperately looking inward for ways to love each other better.

    The lyrics that get repeated a lot throughout the song are “Someone tell me I’ll survive this/please just tell me I’ll survive.” These set of lyrics are very emotional and fans have actually thanked the band for writing it, as it helps those going through a mental health crisis tell themselves they will get through it.

    Overall, the song is very well produced, and Varona’s vocals are very haunting and make you feel like you will make it through anything. “Painkillers” by Fake Dad is out now on all streaming platforms.

  • A Blast at the Bug Jar: L’Eclair, Spaceface and Drippers

    Swiss instrumental quintet L’Eclair, Memphis rockers Spaceface, and Rochester’s own Drippers took the Bug Jar audience on a made-for-Saturday journey this past Tuesday.

    Mike Turzanski’s Drippers set the night in motion. A mid-set multi-movement piece proved to be a highlight. Dual synths laid down eerie sounds matched with a haunting bass and drums backdrop. The electronics went into hyperdrive as the guitar took over. It spilled into a new wave segment and then ramped back up to something resembling prog-rock. As the groove got thicker, so did the smoke. A smoke machine sat on stage throughout the night and was used liberally but timely by all bands. Later in the set, a dual guitar ripper featured some hang-on-if-you-can bass work while a punk rave up gave the drummer’s star time to shine bright. The smoke had cleared but the journey was just getting started. Takeoff was imminent.

    Spaceface, led by Jake Ingalls, formerly of the Flaming Lips, brought their own style of party-ready psychedelic rock. After a quick band huddle, they launched into “Happens All the Time,” it’s crunchy guitar disco rock got limbs moving throughout the room. “Rain Passing Through” amped up the dance grooves and it wasn’t long until bodies were fully in motion.

    With a full-body workout underway, it was only appropriate to throw in some 3rd grade gym class references. Ingalls reminisced at the awkwardness of climbing ropes and changing in front of your classmates. It all began to make sense when he busted out a rainbow-colored parachute and tossed it out in the crowd. We all grabbed a hold and started to wave it up and down, following along to Coach Ingalls’ instructions. As the band ripped through a funky jam the crowd ran under the parachute according to their color or other various experiences. When it was asked for those who were at the Bug Jar for the first time, no one moved. A crowd of regulars!

    The smoke machine was igniting throughout the set, and so were the tunes. Guitarist Eric Martin occasionally busted out a snow machine, filling the room with fake snow, which as it lingered, mixing with the smoke and lights, resembled the upside-down from Stranger Things, appropriately enough with the Bug Jar’s upside-down apartment. A tripped-out cover of The Verve’s “Bittersweet Melody” was truly unique. Katie Pierce laid down a fat bass line under Daniel Quinlan’s intricate beats on “Cowboy Lightning,” everything pinging back and forth off the walls for an immersive sound. The energy was also pinging around the room, a full-on dance party had exploded. We had ignition.

    L’Eclair closed the night, guiding the ship through the cosmos with their Francophonic funk. As the music was instrumental, the French was implied, though those who witnessed soundcheck got a good dose as they called out instructions to their sound engineer. L’Eclair translates to “flash of lightning,” brilliant sparks appropriately emanated off the stage.

    The Swiss quintet immediately set the crowd on course for more body moving. Fat intergalactic grooves were accompanied by keyboard laser beams and spacey guitar moans. Wild polyrhythms went in and out of step with jaunty synths.

    Shorter flights gave way to extended jams. One built and built, a fiery engine, then dropped out all at once, floating in a zero-gravity groove. The drummer sparked the engine for another burn with oontz-oontz raving rhythms and cosmic beams shooting out from the synthesizers. A magnificent cacophony burst forth before melting down to a spectacular drum solo, complete, of course, with more sci-fi-infused synths.

    The grounded dance-party of Spaceface took flight with L’Eclair, the band and crowd bouncing in lockstep, the ground pulling downward less and less as the night grew shorter, until the music felt like it had suspended the crowd in mid-air. The jams grew more electrified, more extended, stretching into the outer reaches. With no vocal mic on stage, banter was kept to an absolute minimum. Non-stop instrumental goodness filled the void between and within. Bursts of smoke provided a physical presence to the ethereal aura emerging along the waves of sound.

    An encore is never a sure thing at the Bug Jar, and when one is granted is generally pretty quick. L’Eclair was coaxed out for two encores, each one a lengthy electronic funk out. One last burn to get us back home. Re-entry was a bit rough, Wednesday already underway as we departed the ship.

  • Brooklyn Comes Alive Arrives at Brooklyn Mirage this Saturday

    Brooklyn Comes Alive, the one-day festival well-known for presenting a potent mix of unique new projects, rare collaborations, and nationally touring heavy-hitters, returns to The Brooklyn Mirage on Saturday, September 17th, complete with lounge areas, a food court, and sunset views.

    brooklyn comes alive mirage

    This year, Brooklyn Comes Alive will feature livetronica heroes STS9, avant-groove explorers Medeski Martin & Wood, future-funk sextet Lettuce, and the debut of Cool Cool Cool, a new project from former members of Turkuaz that is funky, fresh, and ready to throw a party.

    Built from the vibrant live music community of Brooklyn, NY, and inspired by New Orleans, LA and its famed Jazz & Heritage Festival, Brooklyn Comes Alive has been breaking the mold of traditional festivals with unprecedented music experiences since 2015.

    brooklyn comes alive mirage

    Much like past “Comes Alive” events, the 2022 Brooklyn Comes Alive lineup presents a number of exciting firsts and notable milestones. The event will serve as STS9’s first show in NYC since its last Brooklyn Mirage takeover in 2019, and the band plans to celebrate its return to Brooklyn with a two-hour late-night set. Similarly, Medeski Martin & Wood, who have not played together on their home turf in NYC since 2019 and have not performed live since before the pandemic, will use the special appearance to celebrate their 30th anniversary as a band, which took place last year.

    brooklyn comes alive mirage

    If the lineup hasn’t sold you, perhaps the huge visual oddysey that’s in store will get you to Brooklyn on Saturday. One of the world’s largest outdoor video walls is found right at Brooklyn Mirage. Over 1000 LED panels form 6000 square feet of wall, and with 15k ultra wide resolution, the visual effects are film grade, and as state of the art as it comes.

    Add in a custom built media server and processing technology that allows leading visual content creators from around the world to create truly immersive show visuals, one the makes the potential for a hyperrealistic environment to be created at Brooklyn Mirage.  

    Get tickets here.

  • Harlem Stage Announces 2022-23 Season with Uptown Nights Concert Series

    Harlem Stage announced its coming season will be devoted to the intersection of the Black Art and the Black Power movement in America today. Five programs and seven events of film, poetry, music theater and dance will make up this seasons’ theme, Black Arts Movement: Examined.

    Harlem Stage

    A cultural movement that took place largely in Harlem, The Black Arts Movement of the 60s and 70s shaped Black identity through critical discourse in many mediums. Harlem Stage’s CEO, Patricia Cruz, and Curator-in Residence, Carl Hancock Rux, hope this season’s events will challenge and clarify topics of The Black Arts Movement. As Harlem Stage approaches its 40th anniversary, its programming board hopes this year’s schedule will encourage visitors to step back and ask, “what is the relationship between art and politics and what is the role of the politically conscious artist?”

    On Friday, September 16, the programming begins with the “Uptown Nights” series, led by Joel Ross’s Being A Young Black Man. Joel Ross is an award-winning vibraphonist and composer whose project explores his own experiences, contextualized into two themes: faith and family. Ross will perform with saxophonists Patrick Bartley and Tivon Pennicott, pianist Jeremy Corren, bassist Junius Paul, and drummer Marcus Gilmore on September 16 and 17 to set off the programming. The concert will be at Harlem Stage Gatehouse and tickets to all events are available on Harlem Stage’s site.

    Grammy nominated Pedrito Martinez will take the stage (virtually) on September 24 for the next “Uptown Nights” performance. The world-renowned Cuban percussionist’s Rumba Con Fundamento will be available to stream on Vimeo for $5 until October 3. 

    Closing the “Uptown Nights” series on October 7 and 8 is Leyla McCalla with her show celebrating the release of her album, Breaking the Thermometer. McCalla’s newest body of work combines elements of memoir and historical scholarship to express freely her experiences as a Haitian-American living through years of social and political unrest. 

    The program continues with remote and in-person conversations, interviews and performances in song, dance and poetry. To see the full season schedule visit Harlem Stage’s site. 

  • Live Nation Announces Fans Can Easily Get Tickets to Irving Plaza and Gramercy Theatre with Club Pass

    Live Nation announces the new Club Pass, where fans can have a fast and seamless experience getting general admission tickets to venues like Irving Plaza and Gramercy Theatre in New York City.

    live nation

    The Club Pass will be available starting at $79, giving fans access to shows at one venue of their choice. They will be able to go to shows from Oct. 1 to Dec. 3 in hopes of maybe exploring new music genres, and finding up-and-coming artists in music venues across the country.

    For fans who want to go on a road trip across the country, there will also be a Multi-Club Pass available for $299 that allows them to enjoy shows at all participating Live Nation clubs. There are thousands of shows in well-known venues like Irving Plaza in New York City, The Fillmore in San Francisco, and the Hollywood Palladium in Los Angeles.

    Fans can enjoy shows from different artists like Måneskin, Marcus King, Mother Mother, Noah Cyrus, Dayglow, and many more. The Live Nation Club Pass will be on sale from Sept. 19 through Sept. 30 here. Each venue will have a limited number of Club Passes available. All members will be added to the club’s membership list. On the day of the show, fans will show their Photo ID to receive a ticket at the Club’s box office.

    Venues participating in Club Pass include

     713 Music Hall (Houston, TX

    Ace of Spades (Sacramento, CA)

    The Aztec Theater (San Antonio, TX)

    Bayou Music Center (Houston, TX)

    Belasco (Los Angeles, CA)

    Bogarts (Cincinnati, OH)

    Byline Bank Aragon Ballroom (Chicago, IL)

    Coca-Cola Roxy (Atlanta, GA)

    The Depot (Salt Lake City, UT)

    The Echo Lounge & Music Hall (Dallas, TX)

    Echoplex and The Echo (Los Angeles, CA)

    Emo’s (Austin, TX)

    Egyptian Room and Deluxe at Old National Centre (Indianapolis, IN)

    The Fillmore (San Francisco, CA)

    The Fillmore Detroit (Detroit, MI)

    The Fillmore Minneapolis (Minneapolis, MN)

    The Fillmore New Orleans (New Orleans, LA)

    The Fillmore Philadelphia (Philadelphia, PA)

    The Fillmore Silver Spring (Silver Spring, MD)

    The Fillmore Charlotte and The Underground (Charlotte, NC)

    Fillmore Auditorium (Denver, CO)

    The Foundry (Philadelphia, PA) 

    The Gramercy Theatre (New York, NY)

    GLC Live At 20 Monroe (Grand Rapids, MI)

    Hollywood Palladium (Los Angeles, CA)

    House of Blues Anaheim (Anaheim, CA)

    House of Blues Chicago (Chicago, IL)

    House of Blues Cleveland (Cleveland, OH)

    House of Blues Dallas (Dallas, TX)

    House of Blues Lake Buena Vista (Lake Buena Vista, FL)

    House of Blues Las Vegas (Las Vegas, NV)

    House of Blues New Orleans (New Orleans, LA)

    House of Blues North Myrtle Beach (North Myrtle Beach, SC)

    House of Blues San Diego (San Diego, CA)

    Irving Plaza (New York, NY)

    Marquis Theater (Denver, CO)

    Mercury Ballroom (Louisville, KY)

    Observatory OC (Santa Ana, CA)

    Observatory SD (San Diego, CA)

    Roxian Theatre (Pittsburgh, PA)

    The Ritz (Raleigh, NC)

    Riverside Municipal Auditorium (Riverside, CA)

    St. Andrew’s Hall (Detroit, MI)

    Summit (Denver, CO)

    Scoot Inn (Austin, TX)

    The Wiltern (Los Angeles, CA)

    Tabernacle (Atlanta, GA)

    Theatre of the Living Arts (Philadelphia, PA)

    Varsity Theater (Minneapolis, MN)

    The Van Buren (Phoenix, AZ) 

  • The Simon and Garfunkel Story to stop at Kings Theatre in Brooklyn

    The internationally-acclaimed hit theater show The Simon & Garfunkel Story will stop by Kings Theatre on March 3, 2023 at 8PM during the coast-to-coast U.S. tour. The immersive concert-style theater show chronicles the amazing journey shared by the folk-rock duo, Paul Simon and Art Garfunkel. It tells the story from their humble beginnings as Tom & Jerry to their incredible success as one of the best-selling music groups of the ‘60s to their dramatic split in 1970. It culminates with the famous “The Concert in Central Park” reunion in 1981 with more than half a million fans in attendance. 

    The Simon and Garfunkel Story

    Using state of the art video projection, photos and original film footage, the show also features a full live band performing all of their hits, including ‘Mrs. Robinson’ (featured in the 1967 film The Graduate), ‘Cecilia’, ‘Bridge Over Troubled Water’, ‘Homeward Bound’ and many more.

    With more than 100 million album sales since 1965, Simon & Garfunkel’s perfect harmonies and songs that poignantly captured the times made them one of the most successful folk-rock duos of all time. Over the years, they won 10 Grammy Awards and were inducted into the Rock and Roll Hall of Fame in 1990. In 1977, their Bridge Over Troubled Water album was nominated at the 1977 Brit Awards for Best International Album. In 2003, Simon and Garfunkel were awarded a Grammy Lifetime Achievement Award and the following year saw their “The Sound of Silence” awarded a Grammy Hall of Fame Award.

    Tickets for The Simon and Garfunkel Story are on sale now here.